Historical assessment and technical and artistic study of Imamzadeh Mahrouq Wooden Box in Neishabour city and the door of the tomb of the Qotbuddin Heidar Zaveyi in Torbat Heidarieh city

Great Khorasan took many cities from Ghaznin to Bastam and from Amoy to Sistan. The two cities of Zawah and Neishabur, on which the works studied in this essay are based, were also very prosperous during that time. Zaveh became famous in the 7th century of Hijri due to the position and residence of Sheikh Haidar. The Heydarieh Dervish sect is attributed to him. Sheikh Haider was alive when the Mongols came in 617 AH and later became known as Sheikh Qutbuddin. In Neishabur, the tomb of Imamzadeh Mohammad Mehrooq has been and still is the home of many pilgrims. The building of these ancestors has had additions, repairs and decorations in different periods. What is discussed in this article is the wooden wall of Sheikh Haider Zavei's tomb and the wooden box of Amazadeh shrine. According to the investigations, the studied works do not have a construction date. The purpose of the article is to evaluate the history and technical and artistic features of the Imamzadeh Mahrouq Neishabour fund and the door of the tomb of Qutbuddin Heydar Zavehi in Torbat Heydarieh. The motifs and inscriptions of the works were examined and to determine the historical period; They have been adapted to the architectural decorations of places and important works of the Ilkhanid period, such as the Soltanieh building, the Shahnameh of Abu Saidi, and the Qurans. Therefore, it is looking for an answer to the question that the tomb of Sheikh Qutbuddin Haider Zavei and the wooden chest of Imamzadeh Mahrouq belong to which historical period and what technical and artistic characteristics does it have? The method of research is fundamental in terms of its purpose, and it is descriptive, analytical and historical in terms of its nature and research method. In this regard, the features of Iran's woodcarving design and patterns have been briefly stated. Also, the technical and artistic characteristics of the mentioned works, as well as their content, have been analyzed and it has been completed by visually comparing them with the works of the Ilkhanid period and its historical assessment. The method of collecting information is in the form of field research and library studies. the images of the art works are photographed by authors, and the motifs of the art works are drawn, using CorelDRAW software.
Results show the art of wood carving was beautifully done during this period, and the artists of that period, with devotion to the religion and verses of the Quran, created beautiful and delicate inscriptions on wooden works of that period with Sols and Kufic fonts. The position of the geometric nodes is undeniable and beautifully adorned the wood works. The Toranji frames and plant motives which are considered as motives that belong to this era, shine brightly. Three leaf flowers, Arabesque patterns which ends with a three-leaf flower, plant motifs and ornamental elements such as multi-leaf flowers, leaves, Arabesque, twisted plants, designed the work, beautifully and firmly. In this study, first, the general outlines, principles and theoretical definitions of the research, then the historical, social, cultural, religious and political situation of the Mongols in the Ilkhanate era and later exclusively the situation of the Great Khorasan and the two cities of Neyshabur and Torbat Heydariyeh are discussed. In the following, the wood works studied in this research (The wooden door of the Qotbuddin Heidar Zaveyi tomb and the wooden box of Imamzadeh Mahrouq) have been discussed in terms of their design and inscriptions, and after being compared to architectural motives of historical sites such as Soltanie mosque, the Shahnameh of Abu Sa'id, and Ilkhanate Qurans, the historical period of two wood works, was identified as Ilkhanate period.